For this project, I had to start with pre-production and think about what insect that I wanted to model and then sculpt. After extensively researching different types of insects and spiders, I found that I wanted to do something that had wings and that could move in an interesting way.
Production began in Maya a few weeks after pre-production and once the model was UVed and set up. It was taken into Zbrush to fix any issues with the form and shape but more importantly, I used Zbrush to add detail for the back, head, legs, torso and wings, I did this through using Alpha maps and also through using various brushes in Zbrush to create the small details on the eyes and head specifically as these were two of the most important and recognisable aspects of the creature. Once the sculpt was complete. I started progress on the textures. For this, I decided to use Mari as through researching, I found that creature artists prefer to use Mari for organic models and Substance Painter for more metallic and hard-surface models. This is because Mari allows for more control in terms of the specular and roughness maps as it enables you to paint them manually.
Also, for the second half of this project, I collaborated with someone else on my course and he used my model to rig and animate on top of a tracked shot.
I was very glad that I collaborated as it meant that I had more experience in working with other people and it was the first time that I was able to collaborate on the course.
I found that communication is key as because it was being rigged, we had to make sure that the topology was accurate and the edge flow was good enough in order for the different sections to bend appropriately and accurately without any issues.
Thankfully, there were no issues with the topology as it was very clean and the smooth edge flow meant that the bones fold correctly and there were no problems with the skinning of the final rigged version.
Once I had textured and tested the wasp with basic lighting. I was able to place the wasp with textures on top of a backplate and through using a HDRI that I made myself, it gave me the lighting information for the real location that I could then just apply to the scene and make sure that it was realistic enough for it to work.
As this was an area that I wanted to go into after graduation, I decided to work on more than one backplate so that I could experiment with what worked and what didn't. Through doing this, I learnt a lot about the process and how important composition is.
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